**Eric Stephany** Guest in Residence

Posted on January 13, 2017


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Graduated in architecture (Ecole d’Architecture de Paris-La-Villette), trained in Law and Art History, Eric Stephany worked for ten years in an international architectural office in the years 2000. Involved in the production of spectacular dystopic architectures (like the Philharmonie de Paris, Qatar National Museum, Dubai OPera, Abu Dhabi Great Mosque or the Minneapolis Guthrie Theater), he draws, he models and elaborate concepts for architectural competitions. Then leaves his architectural practice behind and multiplies interventions in galleries (Air de Paris, Hussenot, Obadia, Torri in Paris, Exile Gallery, PM Gallery and Atelier Kunst Speil Raum in Berlin, Marianne Boesky Gallery in New York), in art centers (Béton Salon, Glassbox, Ferme du Buisson, Fondation Ricard, Tripode) and institutions (ISCP New York, USA, Musée des Abattoirs, Printemps de Septembre, FR, Museo Nivola, IT, Institut français de Prague, CZ, Deutsches Architektur Zentrum, DE). His sculptural gestures, collages or films seek, through architectural gestures, a series of ambivalent emotions or states of mind like fear, hysteria, sadness, anticipation, awe or languor. A series that he looks at like a possible definition of art. Following the romantic concept of Einfühlung, his work tries to underline the way we project onto architectural masses that surround us, emotions that they induce.

After having collected and installed, from 2005, the left-overs of a global spectacular architecture (Paris, Doha, Rio, Seoul, New York, Dubai) and dealing with the balance between admiration and boredom, he settles down in 2010 in Berlin to dig up the disillusioned ecstasy that lies under the rests ( Berghaïn) of the European modernist avant-gardes (Das Berlin Helikoid, 2013) ; he stays in 2012 in Beirut, exploring the notion of ” architectural trauma ” (Faltbild Nach Rorschach, 2012), then in New York in 2013 (prize-winner of Villa Medicis Hors les murs, French Institute, where he investigates, in the shadow of the movement Occupy Wall street, into the primal surrealist inheritance of the French revolutionary architect Jean-Jacques Lequeu (Index of Shadows, 2014-2015). In 2015, his discovery of the Indian observatories built at the beginning of the XVIIIth century leads him to the North Central India, in search of the emotion of anticipation. He works presently on two news films (The Mausoleum of Lovers, 2016) and (Anticipation, 2016), a sound piece (Archaic Black Hole, 2016) and a series of sculptures (Himalayan Inflexions, 2016). He will start a new research about the feeling of awe related to the extraordinary neolithic tower of Jericho, supported by the residency program of El Atlal, in October 2016, in Palestine.
Eric Stephany lives and works in Paris.

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